The COC’s new production of Rossini’s The Barber of Seville opened last night at the Four Season’s Centre. The production is by the Catalan collective Els Comediants, the same team who did La Cenerentola a few seasons back, with direction by Joan Font and designs by Joan Guillén. It’s a riot in a good way. It’s bold, colourful and very well choreographed. There are giant props; for example a huge guitar from which Almaviva sings his serenade and a giant pink piano which serves for all kinds of shenanigans. A lot of the “sung action” is doubled by actors in a sort of on stage projection cube. Scene changes are “on the fly” and the curtain only comes down for the interval and the end. Bold, clever, slick.
In 2012 Glyndebourne staged an interesting and contrasting double bill of Ravel one-acters in productions by Laurent Pelly. The first was L’heure espagnole. It’s a sort of Feydeau farce set to music. The plot is classic bedroom farce with the twist that most of the doors the lovers come in or out of belong to clocks. Concepción is the bored wife of a nerdy clockmaker. She’s not overly impressed by her two lovers; a prolix poet and a smug banker, who show up while hubby is out doing the municipal clocks. She’s much more taken by the slightly simple but very muscular muleteer who spends most of his time lugging lover infested clocks up and down stairs for her. Pelly wisely takes the piece at face value and brings off a mad cap forty five minutes timed to the split second.
Thomas Adès’ 2004 opera The Tempest was given at the Metropolitan Opera in 2012 in a new production by Robert Lepage. It got an HD broadcast and a subsequent DVD release. It’s an interesting work which, on happening, was compared to Peter Grimes as the “next great English opera”. Whether this early hype will turn into a sustained place in the repertoire is yet to be seen. Musically it’s not easy to characterize. Adès very much has his own style; mixing lyricism with atonality and, in this piece, setting one of the roles, Ariel, so high it’s surprising anyone has been found to sing it. Certainly it’s a more aggressively modern style than most of the work currently being produced in North America. The libretto two is unusual. Shakespeare’s own words were, apparently, considered too difficult to sing though, of course, Britten famously set great screeds of unadulterated bard in A Midsummer Night’s Dream. For the Tempest, Meredith Oakes has rendered the text into couplets; rhymed or half rhymed. It works quite well with only the occasional touch of Jeremy Sams like banality.
Thomas Adès’ The Tempest has had something like eight runs since its premiere at Covent Garden in 2004. It recently opened at the Metropolitan Opera in a new production by Robert Lepage which was broadcast as part of the Met in HD series this afternoon. It’s an interesting work musically. Some of the vocal writing is reminiscent of Britten. It all tends to a high tessitura for the voice type concerned and goes to extremes in that direction for the soprano part of Ariel where parts are so high that clear articulation of the words is impossible. Writing for voice and orchestra ranges from dissonant to extremely lyrical (the act 2 duet between Miranda and Ferdinand). Key and time signature changes are legion and many of the intervals for the singers are extreme. It must be extremely difficult to perform but it’s rather lovely to listen to.